POCKET LIBRARY OF (iREAT ART • 5 O tf
The Hilla von Rebay Foundation
THE POCKET LIBRARY OF GREAT ART
Plate i. self-portrait. About 1886. Pencil
The Art Institute of Chicago (Arthur Heun Fund)
THEODORE ROUSSEAU, JR.
Curator of Paintings
The Metro folitan Museum of Art , New York
published by HARRY N. ABRAMS, INC., in association
with POCKET BOOKS, INC., New Yor\
Copyright 1953 by Harry N. Abrams, Incorporated. Copyright
in the United States and foreign countries under International
Copyright Convention. All rights reserved under Pan-American
Convention. No part of the contents of this book may be repro-
duced without the written permission of Harry N. Abrams,
Incorporated. Printed in U.S.A. MILTON S. FOX, Editor
Plate 2. study OF oranges. 1895-1900. Water color
Collection Carroll S. Tyson, Philadelphia
Cezanne devoted his life entirely to painting. It was
not until his last years that he was understood and ad-
mired by a small group of painters and one or two far-
sighted collectors and dealers. But in the half-century
which has passed since his death, his influence has domi-
nated almost every movement of modern painting.
He was born in 1839 in Aix-en-Provence, a provincial
town in southern France. His father, a self-made man,
started as a hat maker and became one of the most promi-
nent bankers of the town. It was thanks to the money he
left his family that Paul was able to continue painting in
spite of his failure to sell any of his work until just before
the end of his life. His father had wanted him to enter
the family business and sent him to law school. But the
boy had made up his mind to be a painter; and after many
family arguments, and one false start, he was given an
allowance and sent to study art in Paris.
There he joined Emile Zola, his closest boyhood friend,
and together they became part of the group of young
artists who lived the Bohemian life and planned to revo-
lutionize the traditions of painting. Among their friends
were the men who have become famous as the greatest
painters of their day: Manet, Degas, Renoir, and Monet.
Cezanne worked in Paris or in the country nearby and
spent much time with his friends in the cafes theorizing
about the "new" style of painting. Each year he sub-
mitted a painting to the Salon, but he was always turned
down. He also showed his work in the independent ex-
hibitions which his group of friends organized and which
earned for them the name "Impressionists." Not only the
critics, but also the public laughed at the paintings; and
with the exception of an isolated few, no one understood
them. People of every period in history have certain visual
habits acquired from what they are used to seeing around
them; and in the second half of the nineteenth century,
these habits were formed by the works of the old
masters, discolored and darkened by yellow varnish, and
by the Salon painters who imitated them. As a result,
the bright colors used by the young painters seemed
harsh, and their fresh, unconventional drawing awkward.
Cezanne's paintings, perhaps because of their intense con-
viction, attracted more attention, and drew more abuse
and ridicule than those of the other members of the group.
The hostility of both critics and public was among the
most important factors in Cezanne's life and had a pro-
found effect on his character and painting. He returned
to Aix and, except for occasional trips to Paris, he re-
mained there until his death in 1906.
He took his profession very seriously, as seriously as
Plate 3. Below: ecorche (flayed
man), an anatomical study figure
once attributed to Michelangelo
At left: A STUDY BY CEZANNE
AFTER THE ECORCHE. About 1890
Pencil. The Art Institute of Chi-
cago (Arthur Heun Fund)
Plate 4. THE bridge at gardanne. 1885-86. Water color. Museum of
terw ^r/, M?w 7or£ fLtfti* P. 5/iw Collection)
any businessman, doctor, or lawyer, devoting himself
exclusively to it and working with tremendous energy.
His integrity was absolute, and he made no concessions
to public taste or fashion at any time in his life. Deeply
cultivated and widely read, he related all his artistic
experiences, whether musical or literary, to painting. Far
from wishing to break with tradition, he respected it and
ceaselessly studied the work of the old masters, copying
and sketching in the Louvre daily when he was in Paris.
His chief ambition was to add his own contribution to
the great tradition of painting. The complete failure of all
but a few artists and friends to understand even the
seriousness of his purpose was a terrible shock to him.
He withdrew increasingly into himself until he became a
misanthrope and almost a hermit.
Fortunately, he never completely lost his belief in him-
self, and his paintings bear witness to his profound con-
viction as to the importance of what he was doing. His
early work is full of exuberance and romanticism, with
a tendency to overstatement. Then for a while he worked
under the influence of Impressionism, but he soon became
aware of its structural weaknesses and began to subject
himself to severe self-discipline. His mature paintings, for
which he has become famous, are carefully planned and
methodically constructed. If they are compared with the
work of other painters, Cezanne's pictures strike us by
their simplicity and directness. They do not invite us to
enter into them and move from one element to another
as do the Dutch little masters, for instance. They put over
their message in a single statement like a fresco by Giotto.
His choice of subject matter was surprisingly limited.
Within the usual categories of portraits, landscape, still
life, and figure composition, he chose certain arrange-
ments and concentrated on them, repeating them over
and over again with slight variations. The subject was
important to him chiefly as a. means of expressing a
mood. A landscape may be serene or gay or have a real
sense of tragedy; even a still life made up of everyday
objects will give out a feeling of grandeur and austerity.
His portraits, though at first sight aloof and distant, are
remarkably sensitive to the emotional state of the sitter.
The final and permanent quality of Cezanne's composi-
tions is due in great part to their concentrated unity. Re-
gardless of any traditionally accepted rules, such as those
of scientific perspective, the different parts of the painting
are rearranged so that they complement each other and
build up to a compact architectural structure standing
solidly on its own. This is true whether the picture is
considered as a flat surface or as a scene in depth. Even
his many uncompleted paintings show these traits. In
their clarity and order, combined with inner vitality, his
compositions belong to the great classical tradition.
Fundamentally, Cezanne's nature was passionate and
romantic, and it was through color that he expressed his
true feelings. Among the old masters, he always pro-
claimed his preference for the great colorists: Titian,
Tintoretto, Veronese, Rubens, Delacroix. His statements
on color could be taken as a key to his method: "Every-
thing is in the composition of the colors. Go to the
Louvre and see. That is how Veronese composes." He
was most sensitive to the expressive power of color and
used it as the dominant factor in establishing the mood
of his pictures. He spoke of the "colors of friendship,"
of "evil color," and of how by "marrying a shade of green
to a red, one can either sadden a cheek or make it smile."
The luminosity and infinite variety of his color is remark-
able. Most other painters mix a local tone and apply it
throughout a given passage. Cezanne seems to create a
subtle change in almost every brush stroke. Thanks to
this, each square inch of his canvas has vitality. There is
never a flat, dull passage. In this, he is akin to the great
colorists he admired, but his particular method is his own
Plate 6. Above: Detail from Rubens* landing of marie de medicis,
with (below) Cezanne* s study therefrom. About 1882. Pencil
Collection the artist's family , Paris
and remains one of the most original aspects of his art.
Line, pure abstract line, unlike anything in nature, is
an important part of Cezanne's method. It gives accent
to shapes, such as folds of drapery, tree trunks, or moun-
tains. Sometimes he draws several lines with the brush,
usually with blue pigment, all repeating the outline and
resulting in a curious effect of visual vibration which
gives added life to a particular color passage.
Like El Greco, Cezanne used his brush stroke both as a
means of emphasizing the structure of his picture and of
giving vitality to its surface. Sometimes movement is
given to the composition by the general direction of the
strokes. Sometimes differences of texture are brought out,
not by an imitation of reality but by a change of stroke in
contrast to adjacent areas. Different moods are also
brought out, free and gay, quiet and orderly, harsh and
violent. To the lover of Cezanne's paintings, this is one
of their most enjoyable qualities.
Each of these elements was studied for its effect with
infinite care. No painter was more methodical than
Cezanne. In this respect, he comes close to Diirer and
stands at the opposite pole from the carefree facility of
Velasquez or the passionate outbursts of Van Gogh. He
spent many more hours looking and thinking than he did
painting. People who watched him say that he sometimes
waited as long as twenty minutes between two strokes of
his brush. He himself said that there were days when he
looked at his subject so long that he felt "as if his eyes
were bleeding." Some pictures took months to finish.
Despite their simplicity there is nothing obvious or
poster-like about them. They must be looked at again and
again with sustained attention before they completely
reveal their beauty. But like other things in life which
require real effort, they are the more richly rewarding
ecause of it and offer an endless source of enjoyment
those who are willing to take the trouble.
Plate 7. nude woman. About i8 95 . Wash drawing
The Louvre \ Paris
Painted, about 1866
UNCLE DOMINIC AS A MONK
Collection Mr. and Mrs. Ira Hauft y New York
25 5 A x **Va
This portrait is a typical example of Cezanne's youthful
work. His uncle posed for him dressed up as a monk in a
white cowl, and one feels that the young artist enjoyed
painting the picture in which there is a certain sardonic
humor underlying the theatrical effect. The idea of this
forceful and sensual-looking person renouncing the
world to enter a religious order appealed to the romantic
side of Cezanne's nature which was dominant at this
time, when he painted many story-telling pictures, with
titles such as The Rape, The Murder, The Orgy. This
contrast is brought out in the color scheme: areas of rich,
dark flesh color hemmed in on all sides by cold greys and
whites. The brush stroke also contributes. It is rough and
free, much of the paint being applied with the palette
knife. Cezanne, under the influence of Courbet, deliber-
ately used it to get away from the oily, over-finished
surface of the fashionable Salon paintings which he
despised. The broad and simple composition foreshadows
his later work. Here the forms of head and hands already
begin to be reduced to basic oval shapes repeated, as in
the hood and the face, and emphasized by strong black
PLATE I O
Painted about 1870
THE BLACK CLOCK
Collection Mr. and Mrs. Edward G. Robinson,
Beverly Hills, California
2i 1 /i x 28H"
This is an early example of Cezanne's efforts to express
human emotion by means of the simplest subject matter.
Painted while he was still young and preoccupied with
romantic ideas, this canvas depends for its effect on a
series of contrasts. In the still life the fantastic shape
of the shell with its gaping red mouth contrasts with
everyday objects, such as the clock, vase, and coffee cup.
The violent oppositions of light and dark give the pic-
ture a dramatic look— possibly Cezanne deliberately
omitted the hands of the clock to add a feeling of sus-
pense. The color scheme of a broad, whitish expanse sur-
mounted by sharp accents of red and yellow, all set
against a blue-black background, emphasizes this mood.
The brushwork is broad and rather rough, showing the
influence of Manet, who was greatly admired by Cezanne
and his friends at this time.
The combination of these elements gives the picture
a feeling of intense conviction, a quality which Cezanne's
work retained throughout his life.
Painted in i8y 5
PORTRAIT OF CHOCQUET
Collection Lord Victor Rothschild, Cambridge, England
18% x 14%"
Victor Chocquet was a minor customs official who loved
painting, had a collection of Delacroix, and bought the
work of Cezanne and Renoir while they were still ignored
or despised by the critics and the public. Both artists
painted him; Cezanne did five times. This little painting
was probably intended as a sketch, and no effort is
made to treat the sitter in detail; nevertheless, it is suc-
cessful in portraying a reserved, sensitive, and inde-
In its bright coloring and in the broad dabs of paint
of approximately equal size, this picture shows the in-
fluence of Pissarro, with whom Cezanne was working at
this time. However, it already shows certain elements of
Cezanne's mature style. These are the clarity of defini-
tion of the objects in the picture, and the reduction of
these to simple, basic shapes— chiefly rectangular— which
are repeated. Another of these elements is the emphasis
on the surface: the two-dimensional composition of the
painting. Although the figure is convincingly modeled
in the round, the treatment of the colors and the way in
which different forms are brought together bind it to
the background so that the integrity of the surface is
Plate 12. mont sainte-victoire (commentary follows color flate si
Fainted about 1885
VILLAGE OF GARDANNE
Brooklyn Museum^ New York
Cezanne loved to paint this little village perched on
a hilltop a few miles south of Aix, where he had spent
some time with his wife and baby at the time when his
family still refused to agree to his marriage. The roof
tops of the houses, leading up gradually to the church
which stands above them, gave him a wonderful oppor-
tunity to paint the sort of clear and solid composition
which he preferred. Each house and tree is like an archi-
tectural element built into a larger structure.
The unfinished state of the picture gives an interest-
ing insight into Cezanne's working method. It shows
how carefully his picture was planned, so that in spite
of being incomplete, its basic structure and balance are
already established. In the areas which have been barely
touched by the brush, we see how he began with a slight
transparent wash, subtly varied in tone, and then gradu-
ally added to this, using a new shade for almost every
stroke. The areas of uncovered canvas with their light,
almost stenographic touches of the brush give the pic-
ture a gaiety and carefree quality which is rare in his
more finished works.
Collection Henry P. Mclllhenny, Germantown^ Pa.
24^/k x 20%"
Little is known about Cezanne's married life. He met his
wife during the early days in Paris, and soon afterward
their son was born. Cezanne stuck to her in spite of his
father's disapproval, and after a few years he finally
obtained his parent's consent to the marriage. However,
they gradually drifted apart, and toward the end of his
life they were completely separated.
One need do no more than look at the sad and plain-
tive face in this portrait to know that she was not happy.
We wonder how much her long-suffering expression may
be due to having been forced to pose too long. Cezanne
was terribly tyrannical in this respect and insisted on
complete immobility; he said: "Sit like an apple. Does an
The painting combines sensitivity to human feeling
with formalized abstract design, particularly in the pure
linear oval outline of the face. The soft curving lines of
the dress, which are repeated in the hair, give a certain
tender grace to the picture. This is also the result of the
over-all harmony of pale blues and pinks.
portion of plate 75 (open page opposite)
THE CARD PLAYERS
The Louvre, Paris
IjY\ X 22]/l"
The subject of this painting of two peasants playing cards
was probably inspired by a similar composition by one of
the brothers Le Nain, French painters of the seventeenth
century whose work Cezanne admired. He painted sev-
eral versions of the subject, and there are numerous
study drawings for both of the figures in this picture.
His models were peasants from the neighboring farms,
and he has painted them with a deep understanding of
the simplicity and strength of their characters. There
are no picturesque story- telling details; yet their thought-
ful faces and bent shoulders tell us all about them,
almost as if we were reading a chapter in Balzac.
The character of the peasants is emphasized by the
use of arbitrary shadows to strengthen outlines, as in
the head and hat of the man on the right. The rich
color harmony of reddish browns and blues is wonder-
fully suited to the representation of these men whose
lives are devoted to working the land. The composition,
made up of a series of interlocking triangles and
rectangles, has a weight and solidity which also makes
an important contribution to the general character of
PLATE I 6
Painted about 1885- 1887
Museum of Modem Art, New York
50 x 38%"
All through his life Cezanne studied the nude figure and
wanted to master it. When he was not copying paintings
in the Louvre, he was sketching statues like The Slaves
of Michelangelo or the Milo of Puget. Sometimes he
sketched his own friends or soldiers bathing. However,
owing probably to his extreme shyness, he refused to hire
models. This made it impossible for him to analyze the
human body as thoroughly as he did the forms of in-
animate objects, which he could keep before him in-
This Bather is full of contrasting elements. It is realis-
tic in the painting of the bathing trunks, the awkward
anatomy, and differences in skin color. Some of the
forms, such as the head, the shoulders and arms, are
simplified almost to the abstract, and Cezanne has con-
centrated on reducing certain shapes to near geometric
forms, the spaces between the arms and the body, for
instance. The resulting effect, in spite of a certain hesi-
tating and awkward quality, is serious and strong and
leads us to believe that if he had attained the ideal for
which he was striving, it might have had some resem-
blance to a Greek statue of the archaic period.
l " llLl
Fainted 188 3-1887
THE BLUE VASE
The Louvre, Paris
24 x igY^"
Cezanne rarely succeeded in producing the feeling of
brightness and gaiety which radiates from this beautiful
picture. The subject— a vase, a bottle, some flowers and
fruit— he painted many times; but here, as always, the
new arrangement has a distinct personality of its own.
The mood of the picture is due to its color scheme.
The prevailing tone of blue against which they are set
gives extraordinary intensity to the red, green, and yellow
tones and, by contrast, makes it possible for the light
foreground and strip to the right to bring the feeling of
sunshine into the picture. The infinite variety of texture,
tone, and intensity which Cezanne has given to the one
color blue shows how great a colorist he was. Though
setting a blue vase and blue irises against a blue back-
ground, he has made the different objects stand out as
sharply as if they were set against a complementary
color. The comparative lack of finish and the broken
outlines of the apples to the right and of the bottle con-
tribute indirectly to concentrating attention on the vase
and the flowers, the outlines of which are sharp and
Plate 18. still life with basket OF apples (commentary follozvi
Painted in 1888
ROAD AT CHANTILLY
Collection William A. M. Burden, Washington , D. C.
Views of buildings, seen in the distance through an
alley of trees, have been treated by landscape painters of
all periods. Cezanne's interpretation of this subject is
full of poetry. We feel the sunlight on the pink court-
yard before the houses, the rich, waving foliage, and the
cool shadows in the alley. And yet, we find that the
canvas has an architectural structure in surface and in
depth quite different from the work of other painters.
The trees form a solid mass on either side of the alley;
and although we have an impression of distance, the
perspective lines of the alley have been treated so as to
bring the buildings forward and to prevent completely
any feeling of real distance, of a hole in the middle of the
canvas. We are made conscious of the entire scene at
one time. We are not invited in to wander about, as we
would be in a landscape by Hobbema, for instance. The
same effect is created by the color. The greens and blues
in the trees are close in intensity to the colors of the
houses, which minimizes the effect of distance and pro-
duces an over-all pattern, somewhat like a tapestry, on
the surface of the canvas.
portion of plate 20 (open page opposite)
Painted 1895— 1900
STILL LIFE WITH ONIONS AND BOTTLE
The Louvre, Paris
26 x 31%"
This still life is characteristic of Cezanne's mature work.
Of all his paintings it is one of the most serene in spirit
and the most perfectly balanced in execution. There are
no strains, no sharp contrasts; all the problems have been
successfully solved. It is a complete statement.
The color harmony is restrained and subtle. There are
no brilliant colors. The soft pinks and greens of the
onions blend easily with the atmospheric blue of the
background. The drawing is unusually effortless. All the
outlines are continuous and flowing, from the curves of
the table front to the graceful onion stems which lead the
eye upward into the blue. And yet there is no lack of
strength. The table is a solid base for the composition.
There is real body to the drapery, and each onion is
defined with clarity and modeled convincingly in the
round. The bottle has the stability of a column.
The noblest human sentiment has been expressed by
means of the humblest subject matter. A painting such
as this might well inspire what one critic said of
Cezanne during his lifetime: "He is a Greek of the great
Painted about i8go
MADAME CEZANNE IN THE CONSERVATORY
Collection Stefhen C. Clark, New York
3 6 l /2 x 28V2"
Of all Cezanne's portraits this is the most elegant. It has
none of the impassivity or the unhappiness which char-
acterize the other pictures he painted of his wife. Here
her expression is attentive and tender, and the whole
picture gives out a feeling of gentleness, almost of
This is due chiefly to the drawing, which is composed
of smoothly flowing curves combined in a pattern of oval
shapes repeated in the head, the arms and clasped hands,
and the branches of the tree. The roundness of the head,
of the neck and the bust is repeated in the potted palm
and in the flowers. Except for the head and shoulders,
on which attention is concentrated, the color is always
freely applied and broken. This gives a light and airy
atmosphere in a harmony of pink, yellow, and pale
green tones. The fact that the picture is unfinished gives
it a lack of formality which is important to the general
effect. The only sharp angle, that at the meeting of the
line of the top of the wall and the direction of Madame
Cezanne's figure, serves to emphasize her rather prim and
PLATE 2 2
TULIPS AND APPLES
The Art Institute of Chicago
23 x i6Yi"
This still life could almost be called a vocabulary of
Cezanne's language in his mature period. The subject is
expressed in terms of the utmost simplicity and, at the
same time, the maximum conviction. The vase of flowers
has been placed so that we see it as in a close-up. This
is done by turning up the table surface arbitrarily, and
by making the leaves of the tulips pass beyond the outer
edge of the canvas. Each object— the apples, the vase, the
table— is reduced to the simplest shape. With the excep-
tion of the smaller flowers, there is a complete lack of
detail, and yet we are intensely aware of the identity of
each one of the objects represented. The space in which
they stand is clearly expressed, and we feel the air behind
the flowers and the table. However, the tilting of the
table surface already referred to, and the intensity of the
color of the apple which is half hidden by the vase,
create a bond between the surface and the background of
the picture which strengthens the two-dimensional com-
position. The over-all brightness and liveliness are due to
the color composition of contrasting reds and greens, and
to the intensity of these colors.
THE HOUSE WITH CRACKED WALLS
Collection Mr. and Mrs. Ira Hauft y New York
25H x 2I l /4"
Toward the end of his life Cezanne returned to the
romanticism of his early youth. This landscape was
painted at the beginning of that period and is unusual
in his work because its dramatic effect is produced by
an anecdotal detail, the dark crack running vertically
through the wall, rather than by the general treatment
of colors and forms. The result is more theatrical than
The crack seems to have its root in a larger break at
the base of the big rock to the right. The contrast be-
tween the size and permanence of this rock and the
weaker structure of the little house, together with the
thin tree trunks and the rather low and pale horizon line,
combine to give the impression of a barren wilderness,
which is further emphasized by the crisscross pattern
of the vegetation and rocks in the foreground and the
windswept branches of the trees to the left. The dark
green silhouette of the pine tree behind the house adds
to the dramatic effect produced by the black window and
the gaping crack.
fortiori of flate 2j (of en fage offosite)
Painted 1898— 1900
WOODS WITH MILLSTONE
Collection Mr. and Mrs. Carroll S. Tyson, Philadelphia
29 x s6 l A"
Cezanne painted this scene representing an abandoned
quarry in the woods not far from his own house near
Aix. Towards the end of his life, this was the sort of
place which best suited his bitter and melancholy mood.
Like Poussin, by placing the blocks of stone which have
geometrical shapes in the foreground, he has given this
part of the picture a certain intellectual clarity and bal-
ance. However, the waving lines of the tree trunks and
the free treatment of the heavy foliage give the impres-
sion of a wilderness. It is this contrast between the calm
and rational and the wild and instinctive which gives the
picture its character.
The restrained color harmony of browns, greens, and
dulled blues, without any touches of vivid color, main-
tains the over-all unity of the composition and is admi-
rably suited to the atmosphere of the scene.
fortiori of plate 25 (open page opposite)
Painted 1898— 1 905
Philadelphia Museum of Art (Wilstach Collection)
This is Cezanne's largest picture. He worked on it for
at least eight years; studies and sketches show that he
planned it during almost thirty years of his life. It was
to be the culmination of a lifelong ambition to create
his own personal version of the large figure compositions
by the great masters of the past whom he admired most:
Tintoretto, Rubens, Poussin, and Delacroix. However,
he never finished the canvas, and we know from his own
statements that it presented a problem to which he had
not found the right solution. The landscape, with the
two figures standing on the far side of the stream, the
fields, and the church partly hidden by a wood, is suc-
cessful. One feels that this was a part of the picture
where he was completely sure of himself. It is in the
figures that this sureness is missing and that the princi-
pal weakness of the picture lies. As he grew older,
Cezanne became increasingly timid and fearful as far
as women were concerned, and was always uncomfort-
able in representing the female body. In speaking about
this picture, he complained that the women looked like
soldiers whom he had sketched bathing in the river,
and bemoaned the fact that women were such dreadful
BOY IN A RED VEST
Collection Jakob Goldschmidt, New York
36% x 28Ya"
This portrait of a sad and pensive youth standing before
a heavy curtain has many of the characteristics of
Cezanne's late work. The pose and the basic structure
of the picture were probably inspired by some sixteenth-
century Venetian portrait, like the Veronese Portrait of
a Man in the Colonna Collection, where the model has
the same languid pose and has a similar curtain draped
However, the two elements which really give the pic-
ture its character are the creation of Cezanne: the in-
tensely expressive drawing— the elongated left arm, the
delicate hand, the almost incredibly sensitive mouth;
and more important still, the rich color harmony made
up of an infinite variety of tans and lavenders concen-
trating on the bright red of the waistcoat. The nervous
broken lines which add to the impression of fragility are
also typical of Cezanne, as is the free and varied brush
stroke. Such elements— the sharply emphasized outlines
of the boy's right arm, for instance— lead straight to the
early work of the Cubist painters of our century, Picasso,
Braque, and Juan Gris.
STILL LIFE WITH CUPID
Courtauld Collection y London
28 x 22V2"
One of Cezanne's most graceful and charming works,
it is, when analyzed, also one of the most interesting and
surprising. In conjunction with a still life of apples,
onions, and drapery, it contains two of his favorite
models, plaster casts of a small Cupid by Puget and a
statue of a flayed man (an anatomical study figure)
once attributed to Michelangelo.
The Cupid is strongly modeled in the round and
stands firmly on a table with brightly colored apples and
onions at his feet. Behind him there is a view of the
studio with paintings leaning against the walls. But
Cezanne has arbitrarily transformed the lines of scien-
tific perspective. By breaking the outline of the canvas
behind the statue and emphasizing the roundness of the
pear or apple lying in the corner, he has counter-
acted the effect of depth and maintained the integrity
of the surface of the painting. This deliberate and
closely-knit union of all the parts of a picture, was one
of the qualities he admired so much in Poussin and
tried so hard to attain himself. The simplification of
forms to almost geometric patterns of circles and angles
has been one of the chief sources of inspiration for the
Cubist painters of our times.
Fainted about 1900
SELF-PORTRAIT WITH BERET
Museum of Fine Arts, Boston
2§^i x 21%"
Painted when he was in his sixties, this self-portrait is
one of Cezanne's strongest and most successful. It is
dispassionate and yet highly sensitive. It shows him sad
and bitter as he had gradually become, and even gives a
feeling of his loneliness. The eyes look at nothing, the
face is sullen and yet extremely alive. The portrait tells
the whole story of his disappointments, his isolation, and
his great stubbornness, with extraordinary intensity.
It is painted in a wonderful harmony of blues and reds,
ranging from touches that are exquisitely pale and deli-
cate to passages of great depth and resonance. In this
richness and variety within such a limited color range,
Cezanne shows himself to be the equal of Rembrandt
In contrast to the richness of the color, the structure
and drawing are composed of a few forms of the utmost
simplicity which are repeated throughout. The curve of
the top of the beret occurs again in the forehead, in the
ear, and again in the line of the shoulders. The sharp
angular shape of the nose, which is so expressive, is
repeated in the moustache, in the goatee, and again in
the white collar.
COLOR PLATE 12
The Metrofolitan Museum of Art y New York
25 5 A * 3 l7 A>"
The Mont Sainte-Victoire dominates all the countryside
around Aix like a huge marble pyramid. The people of
the region foretell the weather by the way it looks
and have certain superstitious beliefs about it. Cezanne
painted it over and over again, and at the end of his
life it had become almost his only model.
In this perfect example of his mature art, the moun-
tain is partly hidden by trees and takes its place with the
other forms in the landscape. The shrubbery and the
trees in the foreground, and the wall of mountains and
hills in the distance, create between them a crystal-clear
body of space in the center, the quality of which is em-
phasized by the pale blue sky.
The color shows Cezanne's complete mastery of land-
scape painting, ranging, always with incredible variety,
from the brightest greens to the pale blue-pink in the
distance, and always composed in order to keep the unity
of the picture. The drawing is of the utmost simplicity:
tree trunks are almost cylinders, foliage is made up by
brush strokes in abstract shapes which nevertheless are
completely convincing in their suggestion of nature.
COLOR PLATE I
Painted 180 0—1894
STILL LIFE WITH BASKET OF APPLES
The A rt Institute of Chicago
24H x 3 7 "
Cezanne was very meticulous about composing his still
life, and, like the Dutch masters of the seventeenth cen-
tury whose work he studied in the Louvre, he carefully
propped up the basket on a block or set the angle of an
apple with a coin, until he had exactly what he wanted.
The result is a cheerful and rather sunny painting. How-
ever, its effect is quite different from what we find in the
still life painting of other great painters. When Chardin,
for example, paints fruit, he gives the texture of each
surface so that we feel that we could eat it. Each one of
Cezanne's apples is very definitely, almost aggressively,
an apple, but its appeal is to our minds rather than to
our appetites. It is a description of an apple in the
simplest, most essential terms.
The composition is made to carry our attention to the
apples in the folds of the napkin lying on the table.
Everything leads to this— the tipped-up basket, the angle
of the lady-fingers, the folds of the napkin, the bottle
like a dark exclamation point in the center. However,
the richness and vitality of the picture are due to the
brilliant color, the unexpected contrasts, and the sharp
accents and vibrating, broken lines of the drawing.
-— ;i *a8l*E£#>
Plate 29. the mower. 1875-76. Pencil
Collection Mr. and Mrs. Ira Hauft y New York
Plate 3 o. boy in a RED waistcoat. 1890-95. Water color
Collection Mr. and Mrs. W. Feilchenfeldt, Zurich
P/ate 3/. THE BATHERS. 1890-1900. Lithograph
Museum of Modern Art, Neiv York
Plate 32. study FOR the card players. 1890-92. Water color
Collection Chauncey McCormick, Chicago
Plate S3- two studies of the artist's son. 1XJJ-7X. Pencil
The Art Institute of Chicago (Arthur Heun Fund)
Plate 34. study after puget's "cupid." 1805-1000. Water color
Collection Sam Salz, New York
•I ( *
*#r , *"*f
Plate 35. mont sainte-victoire. 1900-06. Water color. Tate Caller y\\
Plate 36. two studies of emile zola. 1879-85. Pencil
Collection Mr. and Mrs. Leigh B. Block, Chicago
Plate 38. study of skulls. 1885. Water color
Collection Erich Maria Remarque, New York
Plate 39 . harlequin. 1888. Pencil and wash
Collection Mr. and Mrs. Ira Haupt, New York
1839 Paul Cezanne (pronounced say-ZANN) born
January 10, Aix-en-Provence, France.
1852-58 Becomes close friend of Emile Zola at school
in Aix. Father sends him to law school.
1861-64 Studies art in Paris; associates with Renoir,
Pissarro, Sisley, Monet.
1870 Goes south to L'Estaque to avoid service in
Franco-Prussian War; lives with Hortense
Fiquet, who bears him a son two years later.
1874-78 Exhibits with the Impressionists, but gradu-
ally loses sympathy with their aims. His work
ridiculed by critics and public.
1884 His family allows marriage to Hortense.
1886 Breaks with Zola whose portrayal of him as
the heroic failure of his novel L'Oeuvre
wounded Cezanne deeply.
1900 Exhibits at Paris World's Fair. His following
and reputation begin to grow.
1904 Exhibition of thirty-three paintings at Salon
d'Automne is a major vindication of his art.
1906 Catches severe chill while painting and dies
in Aix-en-Provence, October 22.
1907 Important retrospective exhibition of fifty-six
paintings at Salon d'Automne.
CEZANNE ON ART
"I am the primitive of a new art."
"The realization of my sensation is always very difficult. I
cannot attain the intensity that is unfolded before my
"Drawing and color are not distinct. . . . When color is
richest, form is finest."
"Represent nature by means of the cylinder, the sphere,
the cone, all placed in perspective."
"Every time I come away from Poussin, I know myself
better. ... I wish to make Poussin live again, according to
"Chardin understood that objects are in contact with each
other through intimate reflected colors, just as we are
through our speech and our eyesight."
"In the museum, the painter learns to think; before na-
ture, he learns to see. It is absurd to imagine that we
grow like mushrooms when we have all those generations
behind us. Why not take advantage of all their work."
"Our canvases are the milestones of Man — from the
reindeer on the walls of caves to the cliffs of Monet—
from the hunters, the fishermen who inhabit the tombs
of Egypt, the comical scenes of Pompeii, the frescoes of
Pisa and Siena, the mythological compositions of Vero-
nese and Rubens, from all these the same spirit comes
down to us. . . . We are all the same man. I shall add
another link to this chain of color. My own blue link."
SOME OTHER BOOKS
Paul Cezanne. Letters, edited by John Rewald. London,
B. Cassirer, 1941
Roger Fry. Cezanne, A Study of his Development. New
York, Macmillan, 1952
(Reprint of an early essay by one of Cezanne's first
and most sensitive English appreciators)
Joachim Gasquet. Cezanne. Paris, F. Sant' Andrea, 1927
Gerstle Mack. Paul Cezanne. New York, Alfred A.
Knopf, 1935. (Popular, standard biography)
Meyer Schapiro. Cezanne (The Library of Great Paint-
ers). New York, Harry N. Abrams, 1952
Lionello Venturi. Cezanne. Paris, Paul Rosenberg, 1936
(Complete catalogue of paintings and graphic work)
In a book of art, it seems particularly fitting to ac-
knowledge the work of craftsmen who contribute to its
making. The color plates were made by Litho-Art,
Inc., New York. The lithography is from the presses
of The Meehan-Tooker Co., Inc., New York and the
binding has been done by F. M. Charlton Co., New
York. The paper was made by P. H. Glatfelter & Co.,
York, Pa. Our deepest indebtedness is to the museums,
galleries, and private collectors who graciously per-
mitted the reproduction of their paintings, drawings,
hk PAUL 1
.C425 New Y(
TEXT BY THEODORE ROUSSEAU, JR.
Curator of Paintings, The Metropolitan Museum of Art
Known as the "father of modern art," Paul Cezanne fash-
ioned out of his revolutionary vision of nature an art as
enduring as the greatest art of the past. Although his true great-
ness was recognized by such contemporaries as Zola, Renoir,
Degas, Gauguin, Van Gogh, and Rodin, he was neglected by
the public and official opinion during his lifetime. When he
died in Aix in 1906 his work had already become one of the
profoundly shaping forces of twentieth-century art.
More than fifty illustrations of Cezanne's work— including
portraits, still lifes, views of Provence and the Mediterranean
coast, watercolors, and drawings— are contained in this vol-
ume. Thirty pages are in full color with six double-page size
color plates. The watercolors and drawings are reproduced in
black and white by a special duo-tone process.
Mr. Rousseau's introduction and critical commentaries on
each painting are a lucid and stimulating guide to the reader
through this exhibition of one of the giants of art.
TITLES NOW READY
Degas • El Greco • Toulouse-Lautrec • Renoir
Matisse • Cezanne • Botticelli • French Impressionists
Dufy • Van Gogh • Utrillo • Rembrandt
Goya • Michelangelo • Raphael • Gauguin
Pissarro • Picasso • Rubens • Manet • Seurat
Daumier • Rouault • Chagall